Serpentine Gallery, Kensington Gardens, London, W2 3XA
Marina Abramović: 512 Hours
Marina Abramović’s latest performance extravaganza, '512 Hours' at London’s Serpentine Gallery is reviewed by Belinda Seppings.
Michel François: Contamination (pommes)
Michel François talks about 'Contamination (pommes)' which forms part of the Kadist Art Foundation collection, as well as some recent sculptures and exhibitions, 'Contaminations', 'Pièces à conviction' and the 'scribbles series'. Interview directed by Louis Pierre-Lacouture.
Zabludowicz Collection, 176 Prince of Wales Road, London, NW5 3PT
Adriano Costa, Samara Scott, Michael E. Smith, Sam Falls
The Zabludowicz Collection presents four solo shows by sculptors Adriano Costa, Samara Scott, Michael E. Smith and Sam Falls, spanning continents, decades and varying degrees of experience. Review by Joe Turnbull.
CFA Berlin Am Kupfergraben 10, 10117 Berlin Mitte, Germany
Raymond Pettibon
In Pettibon's work punks are suddenly dreamy and gay, women become merciless judges and victims of their own agency and gunmen turn into mothers' boys
Contemporary Art Gallery, 555 Nelson Street, Vancouver, Canada
Kelly Richardson: Legion
Richardson creates immersive projection environments that question our relationship to the natural world.
The Fruit Market Gallery, 45 Market Street, Edinburgh, EH1 1DF
Jim Lambie
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Jim Lambie’s new exhibition at The Fruitmarket Gallery, Edinburgh is gutsy and exuberant with the artist’s iconic striped floor-piece setting the tempo. Review by Laura Campbell
Sprüth Magers London, 7A Grafton Street, London, W1S 4EJ
Louise Lawler: No Drones
Lawler emphasizes the aspects of viewing art we continually overlook as she makes pointed observations about the art world system, its complex rules and its institutional practices. Review by Aindrea Emelife
Primary Projects, 151 NE 7TH Street, Miami, FL 33132, USA
Christina Pettersson: The Castle Dismal
Pettersson's sprawling layout is a conglomerate of physical associations with cemeteries, shipwrecks, willow forests and seances. Review by Shana Beth Mason
Studio Voltaire, 1a Nelson’s Row, London, SW4 7JR
Judith Bernstein: Rising
On the far wall of Studio Voltaire’s main exhibition space hangs ‘Birth of the Universe’ (2014), a large-scale painting by the American artist Judith Bernstein (b.1942). Blood red labia stretch open to reveal a fluorescent yellow cavity and a bright blue spiral. Two white penises ejaculate into the orifice, and it is out of this colourful admixture that the entire universe is born.
Flat Time House, 210 Bellenden Road, London, SE15 4BW
Simon & Tom Bloor: Residency Works
In 'Residency Works' Simon & Tom Bloor revel in the moments where creation and destruction meet. Review by Rachel Guthrie.
South London Gallery, 65-67 Peckham Road, London, SE5 8UH
Last Seen Entering the Biltmore
‘Last Seen Entering the Biltmore' is a show that explores the possibilities and interferences created by piercing through that imaginary wall that separates the stage from the backstage. Review by Francesca Cavallo.
Nikolaj Kunsthal, Copenhagen Contemporary Art Centre, Nikolaj Plads 10, 1067 Copenhagen, Denmark
Shahzia Sikander: Parallax
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Shahzia Sikander transforms miniatures into detailed, living, digitally animated stories.
The Drawing Centre, 35 Wooster Street, New York, NY, 10013
The Intuitionists
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Considering the role of the collection, the database and the aggregate in drawing.
Hannah Barry Gallery, 4 Holly Grove, Peckham, London SE15 5DF
A Strong Affinity
‘A Strong Affinity’ resonates somewhere between a science-fiction novel and an industrial blizzard. Review by William Davie
